Project Proposal

 

If you have any performers working with you please list them here or state "none"

90% decided that this will mainly be a solo performance with additional musician to add percussive elements. I am leaning towards myself, playing and looping some elements at the start of the performance but then moving on to sampling the percussionist and manipulating the samples as the piece develops.

Format & Concept:  What format will the performance take (i.e. live sampling, hardware synth, a combination etc)? What will the overall concept of your piece(s) be? Which practitioners have informed your ideas? What is the rationale for your concept & how will you ensure you address the criteria? See the brief in Moodle

The performance will be based on live sampling in Ableton Live. I will be manipulating the samples with the AKAI APC KEY 25 midi controller. Guitar input will be via GFX-10 Multi effects pedal and Boss RC 500 looper pedal. With regard to influences, the more that I research, the more I seem to change my mind. I like what Angine De Poitrine are doing with loops as an example (Without the dressing up !) However, I'm also fascinated by some of Jan Bang's work and the process that he follows. In addition to that, delving into the archives, the work of Daphne Oram is fascinating and inspiring. I am discovering new influences day by day and like to keep an open mind, but my performance will draw on elements of each.

Style & Structure:  What genre / style of music/performance will you be creating? One or more pieces? What compositional elements will this entail? How will this be structured?

The genre can maybe described as "psychedelic minimalism" where a simple pattern is introduced at the start and then developed throughout the performance, Gradually the output becomes totally indistinguishable from the starting point. By manipulating Ableton parameters with the MIDI controller I can hopefully develop a complex sonic soundscape. I have already written a piece and experimented with the logistics of performing it live.

Instruments: What ‘instruments’ will you & your performer(s) be using (can be traditional musical instruments, synthesisers, laptops or other objects to be sampled)? Who will be playing what for you? How will you organise rehearsals etc

Fender Jaguar Guitar, GFX-10 multi effects pedal, Boss RC 500 for looping and drum patterns, Laptop running Ableton Live 12. AKAI APC KEY 25, Vocal and sampling mics. Guitar and Amp for second guitarist. Percussion instruments and electronic drums for rhythm section.Rehearsals at home or in the University studios.

Kit List: What laptops/ interfaces/ controllers/ mics/ leads/ stands/ mixers/ monitors/ amps etc... do you need? How will you ensure this can this all be set up & tested in rehearsals & the performance

Laptop Running Ableton Live 12

AKAI APC KEY 25

Focusrite Audio Interface

1 sampling mic (SM57)

1 vocal Mic on stand (AKG C414)

GFX-10 multi effects pedal - Provided by me

Boss RC 500 looper pedal - Provided by me

Guitar leads (3)

Amplifiers

Drum machine

Percussion instruments

Software Processes if using DAW or Hardware Synths to be used:  Which processes will you be using (i.e. in Ableton; Max for Live; Effects racks [what FX?], Key/MIDI/Macro Mapping; Slice to MIDI; Simpler/Sampler etc)?  Which synth types/processes? How will you go about rehearsing, practicing & refining these techniques?

To be defined but essentially FX racks pre-programmed and midi assigned to APC KEY 25

Potential Problems & Solutions:  What problems can you foresee? How can you minimise these

Pre-planning parts of track. The elements have already been defined and consist of

Drum pattern at 90 bpm

Bass Riff

Low guitar riff following bass riff

Chord strum (Em7 A / A7)

Funky chord progression (Em7 barred 7 / A / A7 barred 5)

Lead riff

Lower lead lick.

The more and more the piece is practiced the elements will fall into place although I want to retain some free-form parameter manipulation to produce unexpected and unusual results.

The Composition

Before I started to look recording techniques for this project, I thought that it was important to have a structured composition with defined parts so that I would know exactly what to play when it came to practicing and recording the performance.

The Boss RC-500 looper was perfect for the compositional process as it allowed me to define and layer parts and have a good idea of how the composition would sound before I launched into working in Ableton Live.

The composition can be broken into the following parts:-

• A 90 BPM rhythm pattern
• Bass Riff (E / A)
• Low Guitar Riff
• Chords Em7 A / A7
• Funky Rhythm Em7 (Barre 7) A / A7 (Barre 5)
• Lead Riff
• Low Licks

Once I had established that and experimented with the looper, I could decide how to map the recorded clips into Ableton Live.

• Track 1 - Drum pattern
• Track 2 - Bass Riff
• Track 3 - Chords
• Track 4 - Lead Riff (3 variations, use follow actions)
• Track 5 - Licks (variations, use follow actions)
• Track 6 - Funky Rhythm
• Track 7 - Vocals

Song Development

I made some initial recordings of my looper work in Reaper so that I could listen again and make sure that everything worked together. I experimented with using a different rhythm pattern and BPM until I had something that I would be able to play for the performance.

The composition does not have a traditional verse / chorus structure. It is a series of repeating 4 bar loops that are repeated. The dynamics are achieved by imtroducing instrument parts and removing instrument parts and of course the manipulation that I will do during the performance.

A Complete Song

As I recorded a number of my practice sessions, I was able to make a composite mix consisting of work that I had done with the looper, including the built in looper effects controlled by a MIDI controller, Ableton Live performance practice sessions and automation in Reaper. I also added aguitar solo for some more variation.

I decided that I would write some lyrics so that I would have a complete song. The process of mixing together the various recording sessions led to some interesting results.

Lyrics

The lessons of history
Are swept away by a stormy sea
The memories, have slowly died
Ripped apart by the great divide.

At the top of the loop
When you're waiting to descend
You look down and you'll see
The same mistakes again

The algorithms there to bleed you
It sucks your life blood cos it needs you

When we look at the word
Are we staring at the bitter end
We destroy all our hopes
In a frenzy of self destruction

Loop the loop
Again again
Never see the truth my friend
Loop the loop
There's only hope
To see the light shine through the smoke

pompeyjazz · At The Top Of The Loop

Musical Research

I have tried to research a wide range of different musical material when working on this project. Through the lecture listening sessions, we were introduced to a diverse range of different artists working in some fascinating innovative ways.

As I was initially working with my Boss RC500 looper pedal to develop ideas, I was introduced to a band who are using looper technology in an extremely creative and individual way. I was also taken by their incorporation of microtonal music having studied it last term.

(Guy Defayette, 2025)

(CEM, 2024)

Angine De Poitrine are a Quebecois duo that I discovered earlier this year. Their music is based on loop generated sequences and microtonal riff patterns. Their performances are carefully choreographed and strict attention is paid to synchronisation between the musicians.

It seems that since my discovery in January, they have developed a huge amount of interest as almost an antidote to AI generated music.

The following video gives a good explanation on how the band perform their compositions and the technical issues involved.

There is some categorisation of their music into the genre of "Math Rock"

"A style of rock music characterised by complex rhythms and instrumental patterns"

(https://en.bab.la/dictionary/english/math-rock)

Although Angine De Poitrine's songs are meticulously planned in terms of song structure and rhythm patterns, it is the minute inconsistencies and mistakes during their live performances that adds an uncertain and exciting dimension to their music.

However, their music also leans towards influences of Dadaism 

https://www.tate.org.uk/art/art-terms/d/dada

(Tate, n.d.)

Postmodernism, Avant Garde, and Neo-Dadism: The legacy of Bogusalw Schaeffer explains how Schaeffer incorporated the principles of Dadaism in his compositions.

(Duarte, 2024)

(pelodelperro, 2015)

Justin Hawkins makes some interesting analysis of Angine De Poitrine's music in the following video and also looks at other artists who may have been an influence.

(Justin Hawkins Rides Again, 2026)

A fascinating discovery while watching Justin's video was "Clown Core" A two piece experimental band. I found their music fascinating and unique.

(ClownC0re, 2018)

Daphne Oram was a pioneering electronic composer and co-founder of the BBC Radiophonics workshop. In 1956, she persuaded the BBC to set up a studio to concentrate on experimental electronic music

She also invented the Oramics, "A means of synthesising sound by drawing waveforms, pitches, volume envelopes and other properties on film."

I was particularly fascinated by Daphne's use of signal modulation in order to create what were, at the time, unique and original sounds which had an influence of musicians who came after her.

(Daphne Oram, n.d.)

(wtfbollos, 2013)

Additional Research material needed

Jan Bang

(05. Jan Bang: Live Sampling : MTF Labs, n.d.)

Pierre Schaeffer

(Mostro, 2024)

Pierre Henri

(Parcours De L’oeuvre - Pierre Henry, n.d.)

Delia Derbyshire

(Effectrode, 2025)

Steve Reich

(Aversano, 2024)